Search:the rainbow

Wonder Stories heads over the pond for their 24th release finding the Aussie/UK collaboration between Dawn Again (returning from his excellent EP on WS019) and UK underground champion Rothmans (known for his vinyl only label of the same name). Psychedelic, melodic, and grooving are the name of the game here with 'Timeless Odyssey' venturing into melancholic ethereal territory while 'Rainbow Perch' is an uplifting and bubbly affair. On remixes, Timothy J. Fairplay submits a jacked up sleazy version of 'Timeless Odyssey' while Emile Strunz tackles 'Rainbow Perch' into a 4/4 techno stomper with a new wave ethos.

Compilation of the works by MJ Lallo, weird harmonizing mantras layered with drummachine rhythms.. Very psychedelic compositions where she uses her voice to create all kinds of sound(scapes)
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Take Me With You is a revelatory voyage through the captivating universe of voice artist and poet MJ Lallo. The works on this 2LP compilation were all recorded in her home studio between 1982 and 1997, primarily using drum computer, synth and her own voice processed through a Yamaha SPX 90 digital effects unit. They range from wordless harmonizer mantras and primitive drum computer meditations, to psychedelic latin dance-floor anthems and synth-drenched end-of-the-nighters. Lallo has created her own inimitable galaxy of sound where the human voice, liberated from the constraints of language and abstracted using digital technology, is able to explore the outer realms of human expression, like Joan La Barbara with an Eventide and a new-age sensibility. Although Lallo's flight path is distinctly her own, her journey converges with other travellers as diverse as Jon Hassell, Laraaji, Stereolab, William Aura, Laurie Anderson, Meredith Monk, Gertrude Stein and even Terry Gilliam (whose film Brazil was a big influence on Lallo). Like something beamed in from another planet, Lallo's work is both fascinatingly strange and strangely familiar, and will leave a lasting impression for lightyears to come. Double gatefold LP, remastered DDM pressing.






[E B1 | Midnight in the Sky

Guapapasea! is the first album by Gecko Turner, a unique creator from southern Spain. Born and bred in Extremadura, near Portugal, Gecko has an original and tasteful Latin personality, and during the 90s he was responsible for some locally quite successful bands like Perroflauta, and The Reverendoes.

Acclaimed by Spanish critics as the best debut album upon its original release in 2003, Guapapasea! is a musical journey blurring the boundaries in Latin music. It's a nice blend of different styles - from soul and Brazilian-flavoured songs like the free and easy (and all-time underground hit) "Un Limón en La Cabeza"; Afrobeat-driven tracks like "45.000$ (Guapa Pasea)"; and the flamenco-reggae of his rendition of Bob Marley's "Rainbow Country", to the infectious Latin rhythms of "Did You Black Up Today"; Monk tribute "Monka Mongas"; the original adaptation of Bob Dylan's "Subterranean Homesick Blues"; and the radio-friendly, straightforward reggae track "Te Estás Equivocando".

Guapapasea! features contributions by some of the greatest musicians active at the time on the Spanish Afro-Cuban jazz scene, such as Rubem Dantas (Paco de Lucía's percussionist and regular member of Chick Corea's band), Rodney Dássiff, and Brazilian trumpeter Irapoam Freire. The album was licensed to Quango in the US.

It's been 15 years since its original release, and to celebrate this, Lovemonk's reissuing the album on double 12" vinyl for the first time, alongside Gecko's second album, Chandalismo Ilustrado, and the CD compilation Soniquete: The Sensational Sound Of Gecko Turner. The CD version features bonus remixes by Quantic, Mexican Institute Of Sound and Watch TV.

Confunktion Records own Mr. Confuse returns with his fifth studio album 'Only A Man'.

This album is about the depths of Mr. Confuse and therefore a very personal album in a way. From well-known soul topics of love and hate to social issues of modern life - this album is all about an odyssey through time, rhythm and music.

Times of big studio personals are long gone so a big part of creating this album was the imagination what kind of instruments, musicians and sound design is wanted. With up to 16 international musicians, Mr. Confuse created incredible sounding big arrangements.

The way Mr. Confuse produces his music is inspired by growing up with the 90s hip hop producer technique of creating something new by referring unheard funk and soul. This from of appreciating 60s and 70s music in order to bring it on a new level of musical expression is a clear trademark of Mr. Confuse.

The process of sampling and resampling recorded musicians creates an organic, powerful, authentic and danceable funk sound, which can be heard in each and every second on this record.

Twisting electro funk from the 80s into heavy 60s and 70s funk that could have been the blue print for the original version became a true Mr. Confuse feature already years ago. This time he re-funked the well-known freestyle electro classic 'Let The Music Play' by Shannon.

Also one of the reasons it's entitled 'Only A Man' is because it means composing, producing, arranging, mixing, recording, organising, promoting and going abroad preforming by just one 'man'.

Who do we become when we live our dreams It's all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double LP (or CD) are 28 (56 on the compact disc!) foiled escape attempts, now free to soar in girl group heaven.

Limited Edition of 500 handnumbered Box Set including 4LPs (180g), 1 CD, Download Coupon and a high quality 120 page booklet. NOTE: BOX IS SHRINK-WRAPPED BUT WILL BE OPENED FOR SHIPPING TO AVOID SEAM-SPLIT.

Black Truffle Together With Bernhard Rietbrock And Zhdk Are Honoured To Reissue This Stunning Boxset Celebrating Alvin Lucier's 85th Birthday Celebrations Which Took Place In Zurich, 2013.

Alvin Lucier Is One Of Most Important Figures In More Than A Half Century Of Avant-garde And Experimental Sound Practice. He Has No Equivalent. He Is Among America's Most Important Composers - A Towering Pillar Of Intellect, Creativity, And Beauty Realized Through Sound. His Singular And Unparalleled Body Of Work, Focused Around Acoustic Phenomena And Auditory Perception, Which Included, Among Many Others, The Groundbreaking Works Bird And Person Dyning, Music On A Long Thin Wire, And I Am Sitting In A Room, Each Quietly Shifting The Understanding Of What Music Could Be - Deceptively Discrete Gestures, Laying Their Mark On History And The Expectations Of Nearly Everything To Come, While Radically Expanding The Field. It Is Such A Life, Defined By Such Striking Accomplishment, Which This Release Celebrates Across The Four Lps, Cd, And Book Which Make Up The Lavish Illuminated By The Moon Release.

Recorded In October Of 2016 At The Alvin Lucier 85th Birthday Festival At The Zurich University Of The Arts, The Box Gathers A Remarkable Range Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known. It Begins With Wonderful Stagings Of I Am In A Sitting Room And Music For Solo Performer Performed By The Composer, Before Presenting The Work Charles Curtis Performed By The Cellist For Whom It Was Composed, And Double Rainbow, A Recent Work, Performed By The Incredible Joan La Barbara. Over The Course Of The Set's Many Discs, We Encounter Works Ranging From Nothing Is Real (strawberry Fields Forever), Braid, Two Circles, Hanover, Step, Slide And Sustain, And One Arm Bandits, Performed By Oren Ambarchi, Stephen O'malley, And Gary Schmalzl, With Further Contributions By Charles Curtis And Many Others Involved In The Celebrations Of Lucier's Life And Work. The Collection, By Offering An Expanse Of Material Otherwise Unavailable In The Composer's Discography, Opens A Rare Window Into The Breadth And Range Of Territory Which He Has Approached, As Well As Into The Unique Humor Which Has Quietly Bubbled Through His Entire Career. It Is A Singular Recording Event, The Likes Of Which Are Unlikely To Be Repeated.

A Worthy Tribute To One Of The Last Century's Most Important Composers, Offering Insight, Recognition, And Critical Investigation, Long Overdue And Lovingly Produced. Including An Extensive, Lavish 120 Page Book, With Numerous Unseen Images. Pressed On 180 Gram Vinyl, This Limited Edition Of 500 Individually Numbered Copies Is Unquestionably One Of The Most Beautiful And Important Releases Of 2018.

Key Selling Points: - Limited Edition Of 500 Handnumbered Units From Legendary Electronic Music Pioneer Alvin Lucier

- Lavish Box Set Including 4lps, 1 Cd, And A High Quality 120 Page Booklet.

- 180g Vinyl

- Incl. Download Coupon To Redeem All Tracks

- Over 190 Minutes Playtime

- Remarkable Collection Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known.

- Mastered & Cut By Helmut Erler At Dubplates & Mastering, Berlin.

A long time ago, in a Norway far far away in time, keyboardist Bugge Wesseltoft introduced his New Conception of Jazz to the world. We're talking about the late 90s, when Bugge's cosmopolitan blend of jazz, hiphop and techno beats was pretty much the coolest music coming out of Norway at that moment. That was a golden time for Norwegian music, in fact, when the rest of the world began to sit up and take notice that something was stirring up north, and realised the music was more than just glacial tones hurtled from icy mountaintops and frozen lakes. This was the sound of urban Scandinavia.

A few years later came the electronic dance genre 'space disco'. Along with Todd Terje, Bjørn Torske and Lindstrøm, Prins Thomas was at the epicentre of this next big wave to surge out of Norway. Now, the two generations have come together in this exclusive collaboration between Bugge and Prins Thomas on the Smalltown Supersound label. Jazz and electronics combine for that energising vitamin D shot of Nordic sunshine.

The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label - many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas's 'Bobletekno' in 2015 but this is the first time they have worked together as active musicians. The results - also partly taped at Thomas's home studio - fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.

For an even more authentic touch they called up one of their all time local heroes and one of Norway's most famous jazz drummers, Jon Christensen, who's been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he's still pretty spry behind the kit, as you'll hear on several tracks here.

Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.

Key facts:
Bugge Wesseltoft is one of Norway's leading jazz figures. He set up Jazzland Recordings in 1996. His solo Christmas LP It's Snowing On My Piano remains Norway's best selling jazz album!

Prins Thomas's real name is Thomas Hermansen. His label, Full Pupp, means 'full breast'. He's released several albums under his own name, as well as collaborations with Bjørn Torske and Lindström. Check out his amazing Paradise Goulash mixtapes.

e mighty Man Power returns to Correspondant. One of the earliest labels to champion his explorative technoid landscapes, and deliver his debut album, the Mexico based composer makes a welcome return with three truly singular trips...

'The Zen Of Xen' comes in two segued parts, comprising almost 13 minutes of full intergalactic immersion. Laced with the alluring deep-dream vocals of Tel Aviv's Xen, anchored with tripped-out humanized harmonics and weaved with soaring pads, it's a genuinely emotional narrative that's been cooking away on Man Power's creative wishlist since he first met Xen at a show five years ago.

Elsewhere 'Heart For Yes, Life For No' will have you spitting rainbow emojis all night. An incredible piece of vibrant melodic techno rooted in synthesis, galvanized with emotive layers, driven by feels it sets us up perfectly for the fantastical finale 'Hubris'. Cosmic, soft-focused, sparkling but topped with a choral chant that comes in from nowhere and arrests every sense as the elements rise and fuse with theatre.

By far one of Man Power's most techno-focused and biggest records to date.

It's been over 10 years since the release of Gui Boratto's breakthrough full length debut 'Chromophobia'. As to what its title suggests, he shook up the techno game with a contrast of lushly coloured minimal grooves and melody, whilst many will recall that the album included the highlight single Beautiful Life' which became a dance floor anthem for that era. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio LP, 'Pentagram'. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar - including the return of Beautiful Life' vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload".

Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, 'The Walker' - hot on the trail of Tears For Fears 'Elemental' (one of Boratto's "favourite 80's bands") - to the hi-NRG euphoria of 'Forgotten' and its pounding tech alter ego 'Forgive Me'. "I was going into 2 different directions", Boratto says, "the typical indie- electronic-rock' Boratto kind of production like It's Majik' or Like You' and a much more techno approach." He goes on, "I decided to split them into two twin sister songs. When I play live I always put these two songs together."

The Brazilian Producer further embraces the pop-friendly essence of his past work on tracks like 'The Phoenix', featuring vocalist Nathan Berger, and 'Overload', both melding acidulous synthlines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer '618' duration accidentally happens to equate the proportions of the said pentagram. "Coincidence" Boratto questions, and capsulises, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work. I've wanted to transmit the scientific pentagram's point of view. It's not a religious kind of thing."

Whereas 'Spur' (a field-tested 808 and 909-heavy "purist track", "very, very old school" Boratto insists) and 'Alcazar' are sheer smooth-edged four-to- the-floor epics, the album also shares its lot of startling moments, such as with the John Barry'esque 'Scene 2' (with a hint of Amon Tobin, 'Easy Muffin' style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence, or with 'Hallucination' (feat B.T.) and the further James Holden-ish title-track 'Pentagram' (think 'The Idiots Are Winning'), "one of those exercises I did when I got my Buchla modular synth" Boratto analyses, "I think I've used more then 30 different snares, with different delays and reverbs. The whole song is alive". And so is 'Pentagram' in its entirety: alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.

Es ist zehn Jahre her seit der Veröffentlichung von Gui Borattos bahnbrechendem Debütalbum - Chromophobia . So wie der Titel vermuten ließ, war das Album mit seinen kontrastreichen Minimalgrooves und den üppig gefärbten Melodien ein Schocker im besten Sinne. Ihr erinnert euch sicher noch an die Hit-Single - Beautiful Life , eine Dancefloor-Hymne aus dieser Zeit. Nach vier Alben und unzähligen EPs und Remixen ist das einmalige Savoir-faire des brasilianischen Produzenten, aus vielfältigen Singles und Features stimmige Alben zu schaffen, auch auf seinem fünften Studioalbum - Pentagram zu hören. Hier legt Gui Boratto ein Zwölf-Track-Narrativ vor, das seine Handschrift auf erquickende Weise wiederbelebt. Wiederbelebt wird auch die Stimme von - Beautiful Life (die der Frau Gui Borattos gehört) auf dem Stück - Overload .

Durch seinen charakteristisch kaleidoskopischen Ansatz liefert Boratto ein Album, das gebaut ist wie die Speichen deines Fahrrads, von dem Opener - The Walker - direkt auf der Spur von Tears For Fears - Elemental (einer von Borattos - favourite 80's bands ) - zur Hi-NRG-Euphorie von - Forgotten und seinem stampfenden Counterpart - Forgive Me . - Ich bin in zwei unterschiedlichen Richtungen gegangen , sagt Boratto: - den typischen ,Indie-Electronic-Rock'-Weg wie in - It's Majik oder - Like You und den Techno-Weg. Er fügt hinzu: - Ich hab mich entschieden jedem Track seinen Zwillings-Track an die Seite zu stellen. Immer wenn ich live spiele lege ich die zwei Stücke zusammen.

Der brasilianische Produzent erschließt weiter die Pop-Essenz seiner vergangenen Arbeit auf Tracks wie - The Phoenix (feat. Nathan Berger) und - Overload . Beide kombinieren zwitschernde Synthi-Melodien mit lasergenauen Breaks, Hooklines, Drops und sind wie gemacht für die Rotation und den Club. Und für die Symbolisten da draußen: die Länge des reduzierten Closers - 618 beträgt zufälliger Weise genau die Proportionen des besagten Pentagramms. - Fügung , fragt Boratto und fasst zusammen: - Ich bin kein Anhänger des brasilianische Neo-Konkretismus , aber ich glaube die brasilianische Künstlerin Lygia Clark hat mich sehr inspiriert. Nicht die Bedeutung ihre Skulpturen aber die Form der meisten ihrer Arbeiten. Ich wollte den wissenschaftlichen Blickwinkel auf das Pentagramm übersetzen. Nicht im religiösen Sinne oder so."

Während - Spur (ein erprobter - purist track auf der Basis von 808 und 909, - sehr, sehr old school , wie Boratto betont) und - Alcazar glatte Vierviertel-Epen sind, hält das Album auch Überraschungsmomente bereit. Z.B. das John Barryschen - Scene 2 (auch eine Spur von Amon Tobins - Easy Muffin ist darin zu hören) und seinem Streicher-Aufbau, der hundertprozentig geeignet wär für eine Eröffnungssequenz in einem Bond-Film. Auch - Hallucination (feat. B.T.) oder der James-Holden-hafte Titeltrack - Pentagram (wir denken da an - The Idiots Are Winning ) wäre da zu nennen. - Einer dieser Übungen, die ich gemacht habe, als ich meinen Buchla-Modular-Synthesizer bekommen habe, war , erinnert sich Boratto, - mehr als 30 verschiedene Snares, Delays und Reverbs zu verwenden. Der ganze Song sollte am Leben sein. Und so ist - Pentagram im Ganzen: lebendig und sicher genau so vielfältig wie sein Bauplan, der auch der Wissenschaft und den Träumen zugrundeliegt.

Omaggio brings the heat once again with the reissue of Prana People, self titled LP originally released in 1977 on Prelude. The Aleem brothers Taharqa and Tunde Ra (or Albert and Arthur) are Prana People and brought a perfect treasure of disco/funk/soul to make you want to dance from the funked up "Is Your Life A Party" to that slow, head nodding sexy groove of "Wishful Thinking" to proper hands in the air feel good disco of "Angels Say Flee" to the perfect strings and flawless soul of "All Around My World". The combination of the tracks and strong production make for an endlessly playable album, and with the legendary brothers, who since the 60's have their place in music history, this is an instant buy if not already owned to add to The Aleems discography of your collection.

Hardcore oldschool from Armaguet Nad, with some quiet mid-tempo surprises for a change

Sorceror's 'Dream Season' defines the Dreamtime sound even further with it's journeys through psyched out space surf sounds with disco grooves.5 tracks dreamed from a moody moment in time and space, to the tape head in the Berkley Arena in San Francisco.

Masaki messaged Blueberry Records Soundcloud and signed an EP within a week. I guess sending demos is still a thing.

The concept of the EP is to demonstrate all the colors in Masaki's rainbow. A truly gifted studio engineer, there are many styles in which he moves across the mixing board.

Ark and Blessing are pure sound design ticklers. As if he decided to make an updated Blue-Ray instructional soundtrack. Soaring melodies and sub bass anchors the listener is literally pinned done by the pressure and beaten with an ugly beauty unique to Masakis style.

Dolci and Ilah both radiate on the dance floor like lost dark rollers from an updated mid 90's

Estelia and Fraewnuil demonstrate the beautiful thoughtfulness Masaki also possesses. Like a hidden runout groove, Masaki leaves the listener pensive and wrapped in a warm embrace.

D x

After nearly a decade in the making, Zomby finally dispatches Mercury's Rainbow, his astonishing and uniquely formulated dedication to Wiley's series of Eskibeat releases, a.k.a. the cornerstone of grime.
Originally recorded over an intense couple of weeks while suffering from circadian dysrhythmia,
Mercury's Rainbow documents Zomby riffing on intricately hand-programmed arpeggios, using theories of colour and its relation to the sonic chromatic spectrum - the circle of fifths - to place an expressively avant spin on the Wiley Kat's slyding Triton squares and frozen, post-garage drum patterns.
Rather than simply imitating Wiley's foundational unit of grime currency, Zomby innovates with a structure of bewildering, modal styles, refracting 16 diamond-cut permutations according to a colour-sound spectrum of tonalities. In the process he effectively loosens up and liquifies the Eski riddim, rendering its bones and sinew in varying states of reactive, physical deliquescence or GIF-like micro-organisms.
For dancers and DJs, the fluid contours and viscous, displaced rhythmic anticipation of Mercury's Rainbow suggests myriad geometries for movement in-the-mix, and serves to single-handedly put to sleep a whole genre of also-ran, prosaic 'future grime' thru its methodical, inventively ground-up construction.
While it's difficult to say with certainty, if Mercury's Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way
Wiley's original template coined a whole new genre, essentially making it the last word in grime futurism, proper.

Tom Ware is a Grammy nominated engineer, producer and musician from Omaha Nebraska. Throughout the 70s and 80s Tom was the drummer for many bands, including Norman & The Rockwells, Toy boat Toy boat Toy boat, and Hit N Run. Because of his love for electronics, mechanics, and machines of any kind, he was always the only one who truly knew how pa systems worked. Tom got an entry level job at a Rainbow Studios and would work at the recording studio during the day, play evening gigs till 2 in the morning, then go back to the studio and work on new ideas all night. During these teeth cutting sessions, Tom worked by himself, following his instincts and creating sounds he loved to listen to.

His reckless abandon approach and thrill to learn was a high octane fuel that resulted in his first solo self-titled album. The album's 10 songs were recorded and mixed between August & December of 1983 and self-released in early 1984. The album would be re-released in 1985 by independent Krautrock/Kosmische Musik label Sky Records in Germany and re-titled 'The Fourth Circle'. Some of the instruments used on the LP were a Sequential Circuits Prophet 5, & Pro One, Simmons SDSV electronic drums, Roland TR-606 drum machine, & Hammond B3 organ. While recording this album Tom was influenced by new wave sounds of Yellow Magic Orchestra, the Berlin and Düsseldorf schools of pulsing synth music and the celestial realms of Jean Michel Jarre. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica cover with computer graphics by Lars Erickson and photos by Ken Mayer and includes a postcard with liner notes by Tom Ware.

With The Object Isn't There UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half remembered fever dream with an aesthetic that is ragged, hypnotic and spacey, its two side-long pieces touch on minimalism, kraut-infused dub and euphoric dance floor optimism. As comfortable being played after Manuel Göttschings E2-E4 as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it's a record that is hard to compare to anything else, past or present.



BIOGRAPHY



Jack Allett works as a producer in London and has been active for many years as an experimental guitar player, releasing a solo record on Blackest Rainbow and collaborating with UK avant-guitar player Cam Deas. The Object Isn't There was written, recorded, and mixed in Camberwell and Camden, London, UK. 2012-2016.



INFO



This record is about - insofar as instrumental music need be about anything - hallucinations. The title The Object Isn't There serves as a concise definition, derived from the quote 'An hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all.' (William James, The Principles Of Psychology, 1890)



Having experienced constant tinnitus - a form of auditory hallucination - for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there. Even if, strictly speaking, an hallucination is something that's not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn't There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting. Allett sees it merely as one example of many things in life that cross this uncertain terrain:



There are obvious parallels here with the notion of active listening. There is room for emotion too, particularly the kind of overwhelming, -all-consuming emotion that, once it fades, is hard to believe was actually how you felt. Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn't much matter; the sensation itself was undeniable.

— Jack Allett

A swirling haze with a plenitude of sounds bobbing to it's surface it's a heartfelt

ey campers, we are back with some new goodies for you! This one is by the
completely virginal duo Death Bulb, who have never released a single track
before, which is quite ridiculous as they have been producing this stuff since
2012. This is simply some of the best industrial noise techno around!

It starts out with the title track Zement, a total dancefloor killer that still gives
me goosebumps after hearing it about a million times. You will eat this up!


Second on the A side is Breathe In, Breed Out, a hilariously rough beatdown
with lots of heavy breathing involved - slays it every time! Ultraviolence never
felt so enjoyable!

The B side starts out with a rare guest appearance of label daddy Hanno
Hinkelbein who donated a remix of Zement for you people who like
straightforward techno. Lots of heavy bass and a crunchy ravepad, driven by
relentless percussion.

The vinyl ends with the broken banger Bettina's Betrayal - noise at it's
finest, somewhere between I-F's I Do Because I Couldn't Care Less...' and old
AFX.

Yeah, blah blah. Lorem ipsum rainbow banana bullshit tacos. Aren't those release descriptions really senseless and stupid As if anyone cared about a text explaining music. It s like posting selfies or continuously crying about the good old days. But you know what, while writing this - I'm sitting here on a wooden chair at my favorite pizza spot. The sun is shining and I m eating these damn delicious pizza margherita slices. I might get some tiramisu afterwards. I don't know. Dessert first some might say. But I'm more a dessert after kind of guy. Anyway, tiramisu is always a good choice.

PS: I guess now you still don't know anything about the record, but reading a lame description wouldn't help either.

Lovin' Mighty Fire' is Howard Williams' third Japanese music compilation for the Ace Records house of labels - this time, for BGP International. Assembled in between his job as a record distributor and his monthly Japan Blues show for NTS radio, the first two have taken a look at the late 50s for a blast of Japanese rockabilly ( Nippon Rock'n'Roll' CDWIKD 313), then the 60s and 70s for a romp in Japanese surf music ( Nippon Guitars CDWIKD 297). Following his retrospective of jazz singer Maki Asakawa for Honest Jon's, this new outing searches for the soul music of Japan, from the early 70s to the early 80s.

Japan has long been known as the final destination for many a collectible soul record. Yet, who suspected that some fine soul grooves were recorded for the domestic market, from ballads, to funk and disco Strangely enough, some of the busiest writers and producers in this field came from a late 60s rock band, Happy End, but on listening to their collaborations, their rhythmic, soulful feel is immediately apparent.

The bluesy funk of Lily, the soul-diva brilliance of Minako Yoshida - represented here in both slow-grind mode and epic disco, the maverick genius of Haruomi Hosono, the lively songstress Yasuko Agawa, and the sultry steaminess of Mari Natsuki, and more. This album finally plants a Japanese flag firmly on the global map of soul.

Michigan artist John Beltran's 13th studio album and 3rd on Delsin is his most complete and personal work yet. Written largely on modular synthesizers for the first time, it melts 90s intelligent techno with post rock and ambient with leftfield downtempo. The seventeen tracks draw on his expert knack for sound design; for melody and atmosphere and make for yet another hugely absorbing affair.

Meet Thorsteinssøn. The Iceland-born-Denmark-bred Gunnar Thor Viggosson better known as one half of 76-79 with Tommy Vicari Jnr and bossman at Comfortable Records and Vanity. Right now, though, we're calling him the man behind the first Pets artist album this year... Deliciously cosmic and cheerily schizophrenic, 'Academy Of Heroes' is inspired by a brilliant creative project Thorsteinssøn practiced during his years living in Amsterdam: Solar Industry Radio. A project that would begin with a made up artist or band name in styles ranging from cosmic funk,scandinavien disco to noise collages of the galaxies. A joyously backwards project that inspired a rich rainbow of styles, the content was then represented 24/7 online, collaged with strange jingles and sifi snippets. Genius. Returning to those creations, Thorsteinssøn and Pets have weaved together a full album that cherry picks from his thunderous proliferation: from the strutting west coast deep house of '1976' to the introverted electro boogie of 'N M T F R' by way of the poignant chords of 'Untitled Disco Six', the wry acid wriggles of 'Channel DISQ' and the Trans Am twinkles of 'Beneath A Steel Sky', the 14 collection acts as an immersive, timeless collage. A smorgasbord of synthetic exploration, rich in sci-fi, space and robotic sympathy, pieced together with the same spirit of his cult radio transmissions, it works just as well on the cans as it does in the dance... And it's en route with an equally alluring package of remixes. An album, a radio show for freaks or simply a journey into Thorsteinssøns world.. Whatever... He really is a creative maverick. !

Omena launches the X series.

As the name suggests, this is the first of ten limited releases planned. First out is Swedish producer Anders Hellberg with 'Fiction'.This is the sound of having a party inside a whale with a broken rainbow and three pyramids as bass bins.

Not too harsh or in-your-face, rather clean, crisp, and audible.
Two remixes courtesy of Bleak (Delsin/DRH/Naura).
200 Copies only

As our fifth elixir finally manifests, Fjader guides us through the misty ocean of the mind to find bliss of rainbow light.

Early support from Deepbass, Svreca, Antonio de Angelis, Arnaud le Texier, Stephanie Sykes, The Noisemaker, Vilix, Nihad Tule, Iori, Rasmus Hedlund, ASC, Periskop, Shaded Explorer, Antonio Vazquez, BLNDR, Jana Sleep and Luigi Tozzi to name a few.

"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

My Panda Shall Fly AKA musician and visual artist Suren Seneviratne, is set to release 'Tropical' It's a brand new 6 track vinyl release.

A kaleidoscope of rainbow textures and rhythms disperse into the exotic soundscape of 'Tropical'. Electronics, real folk instruments and noise-making objects feature here generously on this six-track concept album, blending together a sonic palette influenced by a rich variety of music, people and places.

The material was initially written over the course of a few months during what Seneviratne called "a beautiful burst of inspiration". Working with veteran producer Asier Leatxe Ibanez d'Opakoa (Electric Lady Studios, NYC), Seneviratne then set about disassembling all the songs and re-working them meticulously, enriching the sounds by adding a huge range of live instrumentation, before processing the audio through vintage analogue studio gear.

Suren Seneviratne, born in Sri Lanka before settling in London in 1996, first caught the attention of the music world with a remix that featured on Pitchfork back in 2010. Since then he has released a plethora of diverse records, gaining support from the likes of Clash Magazine, The Fader, Mixmag and Dazed Digital, as well as regularly touring internationally. He has also remixed the likes of The Weeknd, Stay Positive & Little Boots as well as appearing at festivals like BBC Hackney Weekender, Outlook Croatia & Glade as well as performing at prestigious venues such as The Design Museum, Tate Modern & Barbican.

With the release of 'Tropical', My Panda Shall Fly has yet again set himself apart as one of the most unique contemporary electronic musicians around today.

Neon Neon (Gruff Rhys & Boom Bip) present their new album, Praxis Makes Perfect, the follow up to 2008's Mercury Music Prize nominated Stainless Style.

Praxis Makes Perfect is a musical biopic of Italian Publisher, Giangiacomo Feltrinelli's colourful life viewed through the lens of Gruff Rhys' highly original sound writing and Boom Bip's shimmering synth-heavy production.

Guests on this album include two previous Neon Neon co-conspirators in Josh Klinghoffer of Red Hot Chilli Peppers and Cardiff's Cate Le Bon, plus Italian pop sensation Sabrina Salerno and actress Asia Argento.
1. Praxis Makes Perfect 2. The Jaguar 3.Dr. Zhivago 4. Hoops with Fidel 5. Hammer & Sickle 6. Shopping (I Like To) 7. Mid Century Modern Nightmare 8. The Leopard 9.Listen to the Rainbow 10. Ciao Feltrinelli.

BONUS CD (With CDX version) 1. Years of Lead 2. Fuga in Avanti 3. Socalism at Sea (Take in the sails, head into the wind) 4. Non Aligned States.

Rainbow Arabia have been one Kompakt's most endearing acts to
work with us in years. The husband and wife duo Danny and
Tiffany Preston started our year out with the genre-defying full
length 'Boys And Diamonds' which went on to become one our
most acclaimed releases of recent time - the Los Angeles Times
went so far as to proclaim 'Rainbow Arabia are L.A.'s new electro
heroes' in a recent feature.

Kenny Gino and Big Mike a.k.a. the Solid Gold Playaz both started playing records in the late 70's/early 80's. Having family from Chicago, who were DJ's and down with some of the big guys at the time, "heavily influenced our music and production styles" both say. "Living so close to the city, we could go down to all the legendary night spots. The Rainbow and the Warehouse, the Box, the Shelter... places where you could just feel the vibe. And you could hear guys like Farley Funkin' Keith, Ron Hardy, and Jammin' Gerald (the Chicago DJ/producer who is Kenny's cousin) play these incredible records". They both were hooked on the house sound, and would bring it back to their home, a small city named Racine, Wisconsin, located about an hour and half north of Chicago. They continued to develop their DJ and production skills into the 90's, but musically, weren't taking things very seriously until they met Chicago producer Louis Bell. He introduced them to many of the people who were building the mid-90's Chicago sound. "Louis gave us access... access to places we hadn't been before. He took us into the offices of Cajual/Relief Records and Underground Construction, and suddenly we were face to face with guys who were doing what we wanted to do... Cajmere, Paul Johnson, Glenn Underground... showing us that we could do this too. We did a few releases just to get our name out, and soon we had some pretty big named DJ's playing our music. We had DJ's actually looking for our records, and telling us how much they liked our sounds... that just blew us away, especially with very little promotion and in the limited numbers we were pressing... our music just started to build a name for itself."